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Luminous Orange Marbled Vinyl Mit ihrer ersten Veröffentlichung seit sieben Jahren kehren MONSTROSITY eindrucksvoll zurück und präsentieren ein Album, das ihre unverwechselbare Mischung aus purer Aggression, technischer Brillanz und ungebändigter Intensität eindrucksvoll auf den Punkt bringt. Angeführt von Drummer, Gründer und Mastermind Lee Harrison, zeigt sich die Band stärker denn je. Mit Langzeit-Gitarrist Matt Barnes, der triumphalen Rückkehr von Originalbassist Mark Van Erp und der markerschütternden Stimme von Ed Webb (ex Massacre) entfaltet Screams From Beneath The Surface eine Energie, die sofort packt und nachhaltig wirkt. Das Album festigt nicht nur MONSTROSITYs Status als Death-Metal-Institution, sondern erweitert das Genre um frische, mutige Facetten - innovativ und dennoch kompromisslos ihren Wurzeln treu. Die zehn Tracks dieses massiven Werkes verkörpern den rebellischen Geist, der MONSTROSITY seit Jahrzehnten definiert. Songs demonstrieren eindrucksvoll das Zusammenspiel aus vernichtenden Riffs, komplexem Drumming und eindringlichen, bildgewaltigen Texten. Gleichzeitig zeigen sie, wie vielseitig und weiterentwicklungsfähig die Band geblieben ist - neue klangliche Ebenen treffen auf ihre charakteristische, rohe Wildheit. Jeder Titel ist ein Statement, ein Beweis für MONSTROSITYs technische Überlegenheit und ihren kompromisslosen Anspruch, Death Metal auf höchstem Niveau zu liefern.

Mit ihrer ersten Veröffentlichung seit sieben Jahren kehren MONSTROSITY eindrucksvoll zurück und präsentieren ein Album, das ihre unverwechselbare Mischung aus purer Aggression, technischer Brillanz und ungebändigter Intensität eindrucksvoll auf den Punkt bringt. Angeführt von Drummer, Gründer und Mastermind Lee Harrison, zeigt sich die Band stärker denn je. Mit Langzeit-Gitarrist Matt Barnes, der triumphalen Rückkehr von Originalbassist Mark Van Erp und der markerschütternden Stimme von Ed Webb (ex Massacre) entfaltet Screams From Beneath The Surface eine Energie, die sofort packt und nachhaltig wirkt. Das Album festigt nicht nur MONSTROSITYs Status als Death-Metal-Institution, sondern erweitert das Genre um frische, mutige Facetten - innovativ und dennoch kompromisslos ihren Wurzeln treu. Die zehn Tracks dieses massiven Werkes verkörpern den rebellischen Geist, der MONSTROSITY seit Jahrzehnten definiert. Songs demonstrieren eindrucksvoll das Zusammenspiel aus vernichtenden Riffs, komplexem Drumming und eindringlichen, bildgewaltigen Texten. Gleichzeitig zeigen sie, wie vielseitig und weiterentwicklungsfähig die Band geblieben ist - neue klangliche Ebenen treffen auf ihre charakteristische, rohe Wildheit. Jeder Titel ist ein Statement, ein Beweis für MONSTROSITYs technische Überlegenheit und ihren kompromisslosen Anspruch, Death Metal auf höchstem Niveau zu liefern. 180g Black

For more than three decades, Converge have delivered musical and emotional catharsis, putting purpose before perception and intent before interpretation. Whether it’s their 2001 landmark recording Jane Doe or their 2021 Bloodmoon: I collaboration with Chelsea Wolfe, they have created some of the most compelling music, lyrics, and visual art of the 21st century. During that time, fewer bands have had a greater impact on the underground imagination. It seems unlikely that anyone who has been making music for this long would create one of their best works for their eleventh album, in their 35th year as a band. And yet: Love is Not Enough might be the apotheosis of Converge’s decades-long journey through the punk, hardcore and metal microcosm. What vocalist/lyricist Jacob Bannon, guitarist/producer Kurt Ballou, bassist/vocalist Nate Newton and drummer Ben Koller have created is a strident artistic statement on the turmoil of living that hones their collective strengths to a razor’s edge. There isn’t an ounce of fat. Every song moves with a power and purpose that eclipses their human origins, that speaks to the anger, pain, and frustration of the modern age.

Recorded spontaneously in a single afternoon, the album captures an unguarded musical conversation between two of the most compelling voices of their generation. Born in Brixton and now based in Harlem, Ruben Fox has emerged as a major presence on the international jazz scene, renowned for the depth of his sound, the emotional clarity of his ballad playing, and a voice rooted in tradition while speaking firmly in the present. His work follows collaborations with artists including Wynton Marsalis, Barry Harris, Roy Hargrove, Jon Batiste, and George Coleman, and builds on the critical acclaim of his 2021 debut Introducing Ruben Fox.

Micah Thomas is one of the most celebrated pianists of his generation, praised for a style that is both restlessly inventive and deeply grounded in the history of the music. A Jerome L. Greene Fellow and Juilliard alumnus, Thomas has worked extensively with Immanuel Wilkins, Joshua Redman, Ambrose Akinmusire, and Billy Drummond, and has been recognised by DownBeat, Jazz Magazine, and The New York City Jazz Record as a defining contemporary voice. Fox and Thomas first developed their musical relationship while studying at Juilliard, where they regularly played duo sets. In Two Minds was recorded on a whim at Chris Pattishall's apartment in Washington Heights, with no rehearsal, no edits, and no agenda beyond mutual respect, listening, and shared musical values. Over three hours, the pair simply showed up and played.

The result is an intimate, conversational record that foregrounds generosity, empathy, and deep musical listening. Sparse, direct, and emotionally rich, In Two Minds offers a rare document of two artists meeting in real time, balancing history, intellect, warmth, and spontaneity.

When Aretha Franklin passed away on August 16, 2018 we lost the Queen of Soul, acknowledged as the foremost female singer of her generation, someone who sold over 75 million records in her glittering career. The sadness that so many soul fans felt at that time was most acute knowing that we would never hear her beautiful voice on any new recordings. So it is with great pleasure that we present a live set from Aretha never before heard on a commercial CD. And it is with pride that we can say that the recordings, made in a TV studio in Cologne during her first European tour in 1968, are smack in the middle of soul’s Golden Age. The musical quality - the great artist at her peak – is so high that this issue can only enhance her reputation. This is prime Aretha Franklin – and soul music doesn’t get much better than this. Notes by John Ridley.

Wenn der Toifel (Berliner Weisse) mal alleine!!! Mit VÖ Nummer 50 beschert uns Smith & Miller Records den Toifel solo! "Für immer euer Feind" - eine Platte, wie sie ehrlicher nicht sein könnte. Hart, kompromisslos und ähnliche Floskeln stehen bei den meisten Auskopplungen in der Beschreibung, doch wenn man dann reinhört ist alles mehr Schein als sein. Toifel's Solo Debüt allerdings könnte ehrlicher und direkter nicht sein. Ein aggressiver Faustschlag gegen geheuchelte Freundschaften, Respektlosigkeit und Arroganz der Gesellschaft. Klare, deutliche Worte ohne Maulkorb direkt vom Herz auf die Zunge, wird diese Platte das Genre Streetpunk auf ein ganz neues Level heben. Lieder die im ersten Moment frustrieren aber im Nachgang Hoffnung machen und dem Hörer die Hand reichen,die dunkelsten Zeiten durchzustehen. 12 mitsingtaugliche Hymnen wie sie von Vielen lange ersehnt wurden. Fans von Berliner Weiße, OXO 86, Biertoifel, Loikaemie, 4 Promille, Gumbles, Stomper 98... werden sich froien! Zwölf Songs auf 180gr neon green/ black marbled Vinyl, limitiert, handnummerierte 1.000 Stück mit Insert oder als Digipac-CD mit Booklet.

Lange bevor er jemals ein Studio von innen sah, war Sam Snitchy auf der Straße unterwegs und schrie unter dem Namen Maniporno Gedichte - roh, furchtlos und im Einklang mit dem Chaos um ihn herum. Dann begann er, diesen Lärm in Platten zu verwandeln - zuerst als Melker, später als Sam Snitchy. Im April 2026 erscheint nun das dritte Snitchy-Album bei Voodoo Rhythm Records - ein weiterer Schritt auf diesem Weg, tiefer hinein in den Lärm, den Puls, die Verwirrung, mit der alles begann. Das neue Album ist ein klanglicher Exorzismus, aufgenommen mit Marco Fuorigioco, der Bass, Synthesizer und Gitarren verzerrt und das Tonband zerreißt, Philipp Schlotter (Me&Mobi, Music Against Airports) der den Raum mit geisterhaften Synthesizer- Halluzinationen erfüllt, und Domi Chansorn (Sophie Hunger, Knackeboul, Fai Baba, Bonaparte, Marie Krüttli, Béatrice Graf) der die Drums wie einstürzende Türme hämmert. Gemeinsam zerren sie dich durch psychedelische Punkwut, verschmelzen mit den Schatten dunkler Waves, mutieren zu Industrial Noise und Dub-Nebel, verwandeln sich in einen verzerrten Techno-Puls, bis du nicht mehr unterscheiden kannst, wo das eine aufhört und das andere anfängt - alles nährt das Feuer. Und über diesem Sturm spuckt Sam Snitchy seine Worte wie zerbrochene Spiegel - verzerrte und selbstreflexive Geschichten über Menschen, die in ihren eigenen Widersprüchen gefangen sind, über leere Routinen und bedeutungslose Lebensstile, die als Erfolg getarnt sind, über den absurden Tanz zwischen Ekstase und Verzweiflung. Die Texte erklären nicht - sie verstören. Sie halten dir ein zerbrochenes Glas vor und zwingen dich, dich selbst anzusehen, bis du nicht mehr weißt, ob du lachen oder schreien sollst. In VVR's own words: "Sam Snitchy transforms chaos into sound. Once a street poet known as Maniporno, he now blends punk energy with techno pulse, industrial grit, dub tension, and psychedelic garage haze. It's raw and hypnotic _ words like broken glass, beats like heartbeat and collapse spring to mind."

Period Music is a research process involving Susanna Gonzo, Merma Suelo, Tuce Alba, Elizabeth
Gallon Droste, Agnese Menguzzato, and Farah Hazim. The six artists aim to attune to the different
temporalities experienced through our bodies, drawing from multiple meanings of period – from the
menstrual cycle to musical repetitions and astronomical revolutions.

r'tu
A central meaning of the Sanskrit word for ritual, r'tu, is menstruation, the original ritual. The root of
r'tu is in arithmetic and rhythm/.

Period Music has been staying with essential matters on how we listen to time and rhythms in our
bodies and in the world. Questioning the tempo of everyday life in an accelerated system like that of
modern society, the group has opened up co-creation spaces to listen to embodied memories.
Through dialogue, improvisation and jam sessions, the six artists attuned to e ach other’s processes,
composing music, word scores and drawings – ultimately sounding together.

This work embodies other notions of community through archetypes, embracing the impermanence
that reveals the countless rhythms of life. Period Music speaks of friendship and connection, and
invites you to take on a journey of interconnectedness between our rhythms and the broader social
structures influencing our lives.

The project emerges from conversations that began in Berlin in the fall of 2023, including a one-week
residency at Atelier Josepha in Ahrenshoop by the Baltic Sea in April 2024. The first physical iteration
of this project will consist of a book and a vinyl. The album features looping improvisational compositions encoded with messages about multiple temporalities. The accompanying book gathers poetic memories, letters, photographs, symbols, and drawings that emerged during the process

Johnny Cash (1932–2003) was a legendary singer-songwriter whose deep voice and storytelling made him one of the most influential figures in American music. Blending country, rock, folk, and gospel, he created timeless songs like “I Walk the Line,” “Ring of Fire,” “Folsom Prison Blues.”, “I Got Stripes,” and “Oh Lonesome Me.” Known as The Man in Black, Cash’s music spoke to themes of love, faith, and redemption, leaving an enduring mark on generations of artists.

For here lies one of the most influential bands in the realm of gothic metal, a group with doom and death metal roots that has flourished for over three decades, boasting thirteen albums that have garnered devoted acclaim. This injustice is now being set right by The Circle Music , beginning with the vinyl release of the classic album "Burning: A Wish", which emerged twenty-four years ago. "Burning: A Wish", released in the twilight of the year 2001, stands as a dark reliquary of dreams lost to the velvet fog of melancholy. To revisit it now, two dozen years later, is to unseal a time capsule of gothic ache, doom- laced longing, and the tormented tenderness that only Lacrimas Profundere could conjure at their creative height. It was a candle-lit corridor between worlds. A slow fall into velvet shadows. A scream muffled by rain.

By the time "Burning: A Wish" was released, Lacrimas Profundere had already begun to evolve from their early death- doom origins, shaping their identity with the sophistication of seasoned mourners. The death growls had receded, replaced by the haunted, baritone croon of Christopher Schmid, whose voice is an echo from a chapel ruined by time. Yet, while the growls faded, the emotional gravitas remained intact, transmuted into melody, into baroque gloom, into something more sorrowfully refined. Produced with lush, theatrical clarity, the album never drowns in its own atmosphere, it breathes with it, moves with it. The soundscape is dominated by somber guitar textures, languid tempos, and subtle orchestral touches. From the very first notes, it is clear that this is music for ruined lovers and moon-drenched graveyards.

This is the hallmark of Lacrimas Profundere 's style: an emotional minimalism that does not explain or elaborate, but merely opens wounds and lets them breathe. That this album has remained, until now, absent from the warm embrace of vinyl is both tragic and oddly poetic. For what format better suits a record such as this than the one that cracks and hisses like an old seance? Vinyl is tactile, intimate. It requires attention, reverence. To place Burning: A Wish on a turntable is to light a candle in the dark.

Two legends from New York City here for the price of one, as Downside Up Recordings boss Brandon De Carla - noted for his incendiary PAs and DJ sets around the Big Apple from the 90s onwards, as well as releases for labels as luminary as Kevin Saunderson's KMS - enrols the even more celebrated Joey Beltram to add a remix to his three originals here. De Carla's productions sure are uncompromising, not so much as inviting you onto the dancefloor as prodding you on with their itchy, wriggly sense of metallic funk and spaced out atmospherics, especially the latter on the beatless but substantial, grungy DJ tool that is closing track 'Valley Of The'. Beltram's mix, meanwhile, is pinned down by handclaps that sound like they were forged in a steelworks, but again manage to wrangle a sense of irresistible funkiness from the heaviest duty ingredients. Proper 3am techno gear, make no mistake.

Turma da Bênção – A Semba Gathering Across Generations

Conjunto Angola 70 & Paulo Flores

The Turma da Bênção project brings together Conjunto Angola 70, a collective dedicated to recreating and preserving the golden-era sound of Angolan music from the 1970s, and Paulo Flores, one of the most important ambassadors of semba worldwide and one of the creators of kizomba. Throughout his career, Flores has built bridges between tradition and modernity, helping shape the global understanding of contemporary Angolan music.

Recorded in Lisbon in 2018 in an intimate “roda de semba” setting, informal jam sessions rooted in collective rhythm and storytelling, Turma da Bênção gathers legendary musicians such as Botto Trindade (guitar), Joãozinho Morgado (congas) and Teddy N’Singui (guitar); mid-generation artists including Galiano Neto (percussion), Paulo Flores (vocals and artistic direction) and Pirika Duia (viola); and younger creators such as Mayo Bass (bass), Jéssica Pina (trumpet) and Armando Gobliss (keys).

The result is a powerful dialogue between eras. Classic Angolan repertoire meets new compositions, all deeply rooted in semba — the rhythmic and poetic foundation from which kizomba later emerged.

The album revisits emblematic songs such as Runfo da Liberdade, Memórias de Gui and Lamento de Duia, while introducing new works including Morgadinho, Catuta 45, Boas Festas Conterrâ and Réveillon, the latter awarded Semba of the Year at the Angola Music Awards in 2020.

Before this LP, Keep On Pushin Records released the singles Turma da Bênção presents: Joãozinho Morgado and Turma da Bênção presents: Botto Trindade, building anticipation for what now becomes the label’s first full-length vinyl release.

Issued on vinyl in the year Angola celebrates 50 years of Independence, Turma da Bênção stands as a symbolic statement, honoring the elders, empowering the present generation, and ensuring that the pulse of semba continues to resonate across borders.

Turma da Bênção is more than an album. It is a rare intergenerational encounter and a living celebration of Angola’s musical heritage.

"The Outfit release career defining new album, Preservers of the Pearl, asserting themselves as messengers of the new wave of underground rock and roll, pushing the movement forward alongside fellow trailblazers Mystery Lights, Sheer Mag, Shadow Show, Uni Boys + more.

Everything has been leading here. Daniel Romano shifts from his position as sole writer, opening the floor to Outfit stalwarts Ian Romano and Carson McHone, and welcoming into the fold longtime friend and legendary Canadian rock-n-roller, Tommy Major. The band is functioning as a true collective — multiple voices and perspectives — all serving one creative pulse. The result is both a new beginning and a homecoming, a complete and fearless statement.

Tracked to tape at their own Camera Varda studio, the album captures the band live in the room — breathing, musing, and believing. It’s the sound of human hands and hearts at work, in a shared moment of co-creation, preserved in real time in stunning hi-fi.

Here is music as communion — rock n roll as experience. Preservers of the Pearl rejects the flattening forces in modern times — what the band calls “the mono-agriculture of the mind.” In a “target culture”, condemned to homogeny and banality, The Outfit refuse polish and uniformity, embracing imperfection as truth, and promoting curiosity through creativity. At the center of it all is a deep spiritual current — what The Outfit calls Rock & Roll Magick: the belief that music is a sacred act, a force that can reconnect the individual to what is larger.

The Outfit are making music that is purposeful and profoundly urgent. Preservers of the Pearl is an invocation - it’s fearless in a time of great compromise, and resolute in an age of peripheral bullshit. Here is a band serving something greater than themselves."

"The Outfit release career defining new album, Preservers of the Pearl, asserting themselves as messengers of the new wave of underground rock and roll, pushing the movement forward alongside fellow trailblazers Mystery Lights, Sheer Mag, Shadow Show, Uni Boys + more.

Everything has been leading here. Daniel Romano shifts from his position as sole writer, opening the floor to Outfit stalwarts Ian Romano and Carson McHone, and welcoming into the fold longtime friend and legendary Canadian rock-n-roller, Tommy Major. The band is functioning as a true collective — multiple voices and perspectives — all serving one creative pulse. The result is both a new beginning and a homecoming, a complete and fearless statement.

Tracked to tape at their own Camera Varda studio, the album captures the band live in the room — breathing, musing, and believing. It’s the sound of human hands and hearts at work, in a shared moment of co-creation, preserved in real time in stunning hi-fi.

Here is music as communion — rock n roll as experience. Preservers of the Pearl rejects the flattening forces in modern times — what the band calls “the mono-agriculture of the mind.” In a “target culture”, condemned to homogeny and banality, The Outfit refuse polish and uniformity, embracing imperfection as truth, and promoting curiosity through creativity. At the center of it all is a deep spiritual current — what The Outfit calls Rock & Roll Magick: the belief that music is a sacred act, a force that can reconnect the individual to what is larger.

The Outfit are making music that is purposeful and profoundly urgent. Preservers of the Pearl is an invocation - it’s fearless in a time of great compromise, and resolute in an age of peripheral bullshit. Here is a band serving something greater than themselves."

Der englische Produzent, Songwriter und Musiker James Blake kehrt mit „Trying Times“ zurück, seinem siebten Studioalbum und ersten vollständig unabhängigen Release. Das Album, das zwischen London und Los Angeles geschrieben wurde, setzt sich mit den Turbulenzen der letzten Jahre auseinander – globalen Unruhen, Uneinigkeiten und persönlichen Abrechnungen – und sucht dabei inmitten des Chaos nach Empathie, Verbundenheit und Liebe.

Narthex means railed-off western portico or ante-nave in earty Christian churches for women, penitents and catechumens.

Narthex is also a trio featuring (at the beginning) Daniel Denis (Universe Zero, Art Zoyd), Alain Neffe (Pseudocode, Human Flesh, Bene Gesserit) and Nicolas de Villemarqué (Nuwage Music). They had a very different musical background, mostly electric-electronic rock, and decided to work in the field of acoustic music recorded live (two microphones + portable DAT) in churches of their area. After several recording sessions, Nicolas de Villemarqué decides to leave the group. ln order to complete the trio, Daniel Denis and Alain Neffe ask the participation of some of their friends. Anna Homler, Michel Berckmans and Daniel Malempré have accepted the challenge and succeed to fit into their musical universe.

The instruments Church organ, harmonium, sitar, saxophone, oboe, bassoon, zither, valiha, senzas, tarang, voice, percussions, metal clarinet, classical guitar, mew's harp, ongolok, violin, dulcimer, mouth organ, etc.

The music Often dark, sometimes repetitive or experimental, sometimes rhythmical and exotic, always based on emotion inducted by the sound. One could define it as dark age music (as opposite to new age music), a sort of minimal come back to the roots and purity of acoustic sound without the cultural background linked to the 'academic' use of some instruments (for example African senzas are transformed and tuned to sound like Indonesian instruments, sitar or harmonium are used as rhythmical instruments, vahilla is played with a bow).

The places Churches located in an area of 20 kms in the region where Daniel Denis and Alain Neffe live for years and where they feel at home (and feel the vibrations. Every church, place emotionally loaded, has its own specific resonance and sound structure. Every church gave to the musicians a particular inspiration and fill the sound of the instruments with a natural reverberation/echo. The place but also the moment is important. They had the privilege to be allowed to record in the Ecaussines church at night lightened only by candles. lt was one of their most productive recording sessions.

MASKxSOUL is the new international project, featuring the baritone Alexander Korenkov (of Mariinsky Theatre, Theatre du Chatelet, and JFK Center fame, who performed with Vladimir Yurovsky, Valery Gergiev and Anton Batagov) and introducing the voice and music of Tatiana Selivanova (Vanilla Quartz), backed up by Jason Kohnen (The Kilimanjaro Darkjazz Ensemble, The Lovecraft Sextet, Mansur) and Dimitry El-Demerdashi (Mansur). One might say that MASKxSOUL blends dark-jazz, tsar punk, and Eastern folklore with the setting of the romantic landscapes inspired by the Russian classical tradition. MASKxSOUL presents a new vision of a perennial classic, namely, Eugene Onegin by Alexander Pushkin, a romantic novel in verse that has served generations of artists across the globe as inspiration, with a debut single dedicated to Pushkin's 222nd anniversary on June 6th 2022. The complete eight track MASKxSOUL debut album "Onegin" is available now through Denovali.

“Certain albums hit like howling bullets at pivotal moments, tearing open the face of music to reveal hidden sonic muscles and fusing them back into something both strangely familiar and yet entirely unrecognisable. We believe this is one of those records.”

The double album Death of Music delivers 18 crooked vocal pops, some ruthless, others unexpectedly disarming. In some songs, Ajukaja & Mart Avi function like a two-headed saurus swinging its spiky tail to shady pop-house smackers. In others, Ajukaja's serene organ licks descend into subterranean caverns, allowing Avi to float to the surface on their wavelengths and turn his voice into billions of extinct moths, enslaved by the moonlight’s pull. There are songs that face destruction and those that seek to prevent it.

One kykeon rap goes, “If you die before you die, then when you die, you don't die!”. Ajukaja & Mart Avi have embraced this notion to create new music that allows them to thrive in the algorithmic wasteland. 13 years in the making, these 66 minutes are packed with lifetimes of truths you didn’t know you needed to know. They are Ajukaja & Mart Avi – two against death.

Produced by Ajukaja
Words by Mart Avi, Music by Raul Saaremets
Guitar and Bass by Sten Sheripov (Can’t Touch The Earth, Safe)
Sax by Steve Vanoni (I.D.O.L.)
Recorded between 2011—2024
Mastered by The Bastard
Cover Photo by fs
Sleeve by Marke, Mart Avi
Pressed in Tartu, Estonia

Bonnie 'Prince`Billy kehrt am 6. März 2026 mit dem Album 'We Are Together Again' zurück. Das Album ist warm und persönlich und außerdem so angelegt, dass es mit denselben Worten beginnt und endet: 'Why is the lion still here, outside?'

Thematisch ist das Album tief in Louisville, der Heimatstadt von Bonnie „Prince“ Billy, verwurzelt. Es feiert die Kraft von Freundschaft, lokaler Gemeinschaft und gemeinsamem künstlerischem Schaffen. Damit setzt es bewusst einen Kontrapunkt zur Globalisierung und plädiert stattdessen für Lokalismus. Aufgenommen wurde es live im Studio End of an Ear mit lokalen Musiker:innen, Freund:innen und Familienmitgliedern. Jeder Ton ist direkt und unverfälscht – was im Raum passiert, hört man auch auf der Aufnahme. „We Are Together Again“ nimmt die Ängste einer sich verändernden Welt nicht weg, sondern begegnet ihnen mit Harmonie. Das Album erzählt von Zusammenhalt, von der Freude am Miteinander und davon, wie das gemeinsame Fragen selbst zur Quelle von Hoffnung wird."